N O T E S

I N T R O D U C T I O N

1. Nathanael West, The Day of the Locust (New York: Bantam, 1959), 131.2. West, Locust, 130.3. For recent scholarship on fandom, see Henry Jenkins, Textual Poachers:

Television Fans and Participatory Culture (New York: Routledge, 1992); JohnFiske, Understanding Popular Culture (New York: Routledge, 1995); JackieStacey, Star Gazing (New York: Routledge, 1994); Janice Radway, Reading theRomance (Chapel Hill: University of North Carolina, 1991); Joshua Gam-son, Claims to Fame: Celebrity in Contemporary America (Berkeley: Univer-sity of California Press, 1994); Georganne Scheiner, “The Deanna DurbinDevotees,” in Generations of Youth, ed. Joe Austin and Michael NevinWillard (New York: New York University Press, 1998); Lisa Lewis, ed. TheAdoring Audience: Fan Culture and Popular Media (New York: Routledge,1993); Cheryl Harris and Alison Alexander, eds., Theorizing Fandom: Fans,Subculture, Identity (Creekskill, N.J.: Hampton Press, 1998).

4. According to historian Daniel Boorstin, we demand the mass media’ssimulated realities because they fulfill our insatiable desire for glamour andexcitement. To cultural commentator Richard Schickel, they create an“illusion of intimacy,” a sense of security and connection in a society ofstrangers. Ian Mitroff and Warren Bennis have gone as far as to claim thatAmericans are living in a self-induced state of unreality. “We are now soclose to creating electronic images of any existing or imaginary person,place, or thing . . . so that a viewer cannot tell whether . . . the images arereal or not,” they wrote in 1989. At the root of this passion for images, theyclaim, is a desire for stability and control: “If men cannot control therealities with which they are faced, then they will invent unrealities overwhich they can maintain control.” In other words, according to theseauthors, we seek and create aural and visual illusions—television, movies,recorded music, computers—because they compensate for the inadequaciesof contemporary society. If we scratch the surface of this “culture of

190 ★ M O V I E C R A Z Y

unreality,” however, we will see an audience that is not desperate, passive,and gullible, but concerned, active, and skeptical. See Daniel Boorstin, TheImage: A Guide to Pseudo–Events in America (New York: Atheneum, 1975),3, 240; Richard Schickel, Intimate Strangers: The Culture of Celebrity (NewYork: Doubleday, 1986); Ian Mitroff and Warren Bennis, The UnrealityIndustry (New York: Carol Publishing, 1989), 6, 9.

C H A P T E R O N E

1. Eileen Smith to Florence Lawrence, March 13, 1911, Florence LawrenceCollection (FL), Seaver Center for Western History Research, NaturalHistory Museum of Los Angeles County (NHMLAC); Tessie Cohen, Decem-ber 26, 1911, Bison Archives.

2. “They Can’t Fool the Public,” Photoplay, June 1922, 110.3. Charles Musser, The Emergence of Cinema: The American Screen to 1907(Berkeley: University of California Press, 1990), 104, 162, 125.

4. Edward Wageknecht, The Movies in the Age of Innocence (New York:Ballantine, 1971), 20; Musser, Emergence of Cinema, 128.

5. Musser, Emergence of Cinema, 118, 201-2. Although the film was actuallyadvertised as “Reproduction of the Corbett and Fitzsimmons Fight,” manyaudiences seem to have ignored or misunderstood the title’s implications.

6. Musser, Emergence of Cinema, 205-6.7. New York Dramatic Mirror, May 7, 1898, quoted in Robert Allen, Vaudeville

and Film 1895–1915: A Study in Media Interaction (New York: Arno Press,1980).

8. Barton Currie, “Nickel Madness,” Harper’s Weekly, August 24, 1907, 1246-7; “The Random Shots of a Picture Fan,” Moving Picture World, October 21,1911, 198.

9. Tom Gunning, D. W. Griffith and the Origins of American Narrative Film(Chicago: University of Illinois Press, 1991). Also see Joyce Jesionowski,Thinking in Pictures (Berkeley: University of California Press, 1987).

10. Variety, April 3, 1909, 13; Moving Picture World, June 19, 1909, 834; bothquoted in Gunning.

11. “Tricks of the Moving Picture Maker,” Scientific American, June 26, 1909,476-7.

12. “How Miracles are Performed in Moving Pictures,” Current Literature,September 1908, 329; William Allen Johnston, “The Silent Stage,” Harper’sWeekly, November 13, 1909, 8-9.

13. George Ethelbert Walsh, “Moving Picture Drama for the Multitude,”Independent, February 6, 1908, 206.

14. Moving Picture World, September 21, 1907, 29; Marjorie Rosen, PopcornVenus (New York: Avon Books, 1973), 21.

15. Both Richard DeCordova and Anthony Slide find little evidence that thepolicy of anonymity was instituted by actors. As Slide has written, “Didthese so called legitimate actors really care that much (about their reputa-

N O T E S ★ 191

tions)? I doubt it. The majority of actors who accepted screen roles werethankful not only for the work, but for the fame it promised them.” Otheraccounts, however, insist that the policy was initiated by actors concernedwith their reputations. In 1910,Moving Picture World explained that “Actorsare glad to play the parts, but all of them try to shield their identity. Theyhave an undisguised impression that the step from the regular productionsto the scenes before the camera is a backward one.” As silent film actressViola Dana agreed, “You never let it be known that you did the ‘flickers’ inthe summertime just to make a few dollars.” According to Linda Arvidson,director D. W. Griffith’s wife, the motivation behind the Biograph studio’spolicy of secrecy was the fear that stardom would lead to higher salaries. Forthese conflicting accounts, see Richard DeCordova, Picture Personalities: TheEmergence of the Star System in America (Urbana: University of Illinois Press,1990), 77-8; Anthony Slide, Aspects of Film History Prior to 1920 (Methuen,N.J.: Scarecrow Press, 1978), 3; “Photographs of Moving Picture Actors,”Moving Picture World, January 15, 1910; Linda Arvidson, When the MoviesWere Young (New York: E. P. Dutton, 1935), 187.

16. To Florence Lawrence, May 26, 1911, FL, NHMLAC; “The Motion PictureField,” New York Dramatic Mirror, January 15, 1910, 13.

17. On the shift from histrionic to verisimilar acting styles, see Roberta Pearson,Eloquent Gestures (Berkeley: University of California Press, 1992).

18. Eileen Smith to Florence Lawrence, March 13, 1911; Mabel Hilton, Novem-ber 24, 1911; from Portland, Oregon, December 7, 1911; all FL, NHMLAC.

19. Edith Crutcher to Lawrence, April 14, 1910; Mrs. T. L. Wheelis, December21, 1911; FL, NHMLAC.

20. J. R. Manning to Lawrence, July 30, 1911; Elmer Jones, January 31, 1912;Vertical File 211, Academy of Motion Picture Arts and Sciences (AMPAS);May Woelfel, February 16, 1910, NHMLAC.

21. Stephen Horsky to Florence Lawrence, April 15, 1910; Leland Ayres,December 7, 1909; FL, NHMLAC.

22. Etta Ward to Lawrence, 1916, FL, NHMLAC.23. “The Motion Picture Field,” New York Dramatic Mirror; Moving Picture

World, May 14, 1910, 825.24. Moving Picture World, March 12, 1910, 365. To his death, Laemmle insisted

that he had no hand in the publicity stunt. Laemmle claimed that the reportof Lawrence’s death was planted by a rival organization, the Edison FilmTrust; he simply used the opportunity provided by the false announcementto publicize the actress. But the aggressiveness with which Laemmlepursued publicity for Lawrence suggests that the film executive had plannedthe scheme from the start. For Laemmle’s own account of the event, see JohnDrinkwater, The Life and Times of Carl Laemmle (New York: G. P. Putnam,1931), 140.

25. “The Imp Leading Lady,” Moving Picture World, April 2, 1910, 517; RoseSaalmueller to Lawrence, April 11, 1910, FL, NHMLAC; A. W. Dustin toLawrence, March 7, 1910, Vertical File 211, AMPAS; Florence Lawrencewith Monte Katterjohn, “Growing Up With the Movies,” Photoplay Maga-zine, February 1915, 144; Drinkwater, Life and Times of Carl Laemmle, 141.

192 ★ M O V I E C R A Z Y

26. Edith Crutcher to Lawrence, April 14, 1910; Elsie Miller, July 11, 1910;Virginia Kramer and Helen Wood, August 31, 1911; all FL, NHMLAC.

27. George Armstrong to Lawrence, August 30, 1911; Dick Shields, March 6,1916; FL, NHMLAC.

28. Advertisement for the IMP studio,Moving Picture World, February 26, 1910,323.

29. Advertisement for the IMP studio, Moving Picture World, February 3, 1912.30. “Observations by our Man About Town,” Moving Picture World, September

9, 1911, 706; Lux Graphicus, “On the Screen,” Moving Picture World,October 8, 1910.

31. Cyril W. Beaumont, Fanny Elssler (London: C.W. Beaumont, 1931), 26; NeilHarris, Humbug: The Art of P. T. Barnum (Chicago: University of ChicagoPress, 1973), ch. 5; Ivor Brown, “Edwardian Idols of My Youth,” in The Riseand Fall of the Matinee Idol, ed. Anthony Curtis (New York: St. Martin’sPress, 1974), 33; David Carroll, The Matinee Idols (New York: Arbor House,1972), 15.

32. My conclusions about theater fans are drawn from dozens of books andarticles, including “A Personal Interview with ‘The Virginian,’” Theater,October 1906; “Letters to Actors I Have Never Seen,” Theater,October 1904,182; “Noted Young Men of the American Stage,” Cosmopolitan, December1900, 421; “The Brutality of the Matinee Girl,” Lippincott’s, December 1907,687; Frederick Wemyss, Twenty Six Years in the Life of an Actor and Manager(New York: Burgess and Stringer, 1847); William Wood, Personal Recollec-tions of the Stage (Philadelphia: H. C. Baird, 1855); Theodore Dreiser, SisterCarrie (Cleveland: World Publishing, 1946), ch. 5.

33. See Gaylyn Studlar, This Mad Masquerade (New York: Columbia, 1996), ch.3, for stories of fans who tried to see their idols in person.

34. “Letters to the Spectator,” New York Dramatic Mirror, November 11, 1911,28; “Inquiries,”Moving Picture World, December 2, 1911, 738. FrankWoodslater claimed that “Is Broncho Billy married?” was “the first question everasked by any publication about any film player.” See Photoplay, December1917, 108.

35. Most writing on theatrical stars had also avoided the personal. In the lastquarter of the nineteenth century, publishers issued a wave of books devotedto the major roles and performances of popular actors. Books like StageFavorites and The Stage and Its Stars chronicled stars’ professional careers,but never mentioned their offstage lives; families and spouses were dis-cussed only when they played a role in an actor’s rise to fame. By the turn ofthe century, writers toyed with the idea of investigating actors’ home lives—a 1901 article from Cosmopolitan magazine (Burr McIntosh, “Actresses atLeisure,” October 1901, 586) for example, described what famous leadingladies did on their days off—but the vast majority of theatrical writingcontinued to focus on their onstage roles and performances. Even workslike Eminent Actors in Their Homes, by Margherita Arlina Hamm (New York:James Pott and Company, 1902) examined the ways in which sophisticatedinteriors reflected the serious professionalism of their celebrity occupants.Also see Lewis C. Strang, Famous Actors of the Day (Boston: L. C. Page,

N O T E S ★ 193

1899); Stage Favorites (New York: Minton, 1894); Howard Paul, ed. TheStage and Its Stars (Philadelphia: Gebbie and Company, ca. 1890).

36. “Notes of the Picture Players,” Motion Picture Story Magazine, April 1911,129; January 1912, 121.

37. “Those ???,” Motion Picture Story Magazine, June 1912, 138.38. “Answers to Inquiries,” Motion Picture Story Magazine, October 1911, 142.39. “Florence Lawrence,” Photoplay, October 1912, 105; “Interview with Owen

Moore,” Photoplay, December 1912, 100.40. Wilma Bright, “Interview with George Periolat,” Photoplay, January 1913,

118; Pearl Gaddis, “Taking Tea with Alice Hollister,” Photoplay, July 1915,87.

41. “Chats with the Players,” Motion Picture Story Magazine, December 1911,132; Mabel Condon, “The Real Perils of Pauline,” Photoplay, October 1914,60; Photoplay, October 1912, 55. According to film scholar Richard DeCor-dova, because so many fan magazine articles between 1910 and 1913described the similarity between actors and their characters, stars essentiallyhad a professional identity, one that was derived entirely from their onscreenroles. Stars, he writes, were portrayed by magazines as “just like thecharacters they played, but unlike those characters, they were real.”DeCordova characterizes this information as unimportant or trivial, partic-ularly when contrasted to the more revealing facts about stars’ private livesthat were released in the 1920s. Even though fans may have learnedrelatively little about stars’ private lives in the previous decade, I argue thatwhat they did learn was of great importance. Stars appeared to be livingversions of the roles they played on screen. And to many moviegoers, thatsimple fact was profoundly reassuring. The image they adored had a basis inreality. See DeCordova, Picture Personalities, 86-92.

42. “Will You Take Your Star Married or Single,” Chicago Tribune, February 6,1914; “Rocks and Roses,” Photoplay, July 1915, 151; “The Ideal of theScreen,” Photoplay, November 1915, 130.

43. “The Film Comedian Off Duty,” Literary Digest, January 1, 1916, 33.44. Richard Koszarski, An Evening’s Entertainment (Berkeley: University of

California Press, 1990), 193.45. “Musings of the Photoplay Philosopher,” Motion Picture Story Magazine,

October 1912, 135-6; Koszarski, Evening’s Entertainment,193; Gaylyn Stud-lar, “The Perils of Pleasure: Fan Magazine Discourse as Women’s Commod-ified Culture in the 1920s,” in Silent Film, ed. Richard Abel (NewBrunswick, N.J.: Rutgers University Press, 1996), 264.

46. Motion Picture, February 1915, 86.47. “His First Show,” Motion Picture Story Magazine, October 1911, 140.48. To Betty Marsh, July 4, 1917, Vertical File 32; Linna Dutchers to Buster

Collier, August 9, 1916, Buster Collier Collection, Folder 1; both AMPAS.49. Cecil Wood to William S. Hart, 1917; F. Stake, 1917; anonymous fan, n.d.;

all William S. Hart Collection (WH), NHMLAC.50. Charles Carter, “Letter Writing Lunacy,” Picture Play, November 1920, 3.51. “They Can’t Fool the Public,” Photoplay, June 1922, 110.

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52. Myrtle Gebhart, “Myrna, Are You Real?,” Picture Play, November 1926, 74;advertisement for Pictorial Review in Motion Picture Classic, June 1923, 77.

53. Angelina Kovez to Florence Lawrence, 1916; Mrs. T. L. Wheelis, 1911, FL,NHMLAC; Mrs. J. J. Smothers to William S. Hart, 1919, WH, NHMLAC.

C H A P T E R T W O

1. Motion Picture Story Magazine, January 1912, 117; Richard Koszarski, AnEvening’s Entertainment (Berkeley: University of California Press, 1990), 25-6.

2. Moving Picture World, editorial, January 16, 1909, 1; “The Variety of MovingPicture Audiences,” September 25, 1909, 406.

3. Barbara Stones, America Goes to the Movies (North Hollywood: NationalAssociation of Theater Owners, 1993), 28.

4. Robert Sklar, Movie-Made America (New York: Vintage, 1994), 44-6.5. Motion Picture Story Magazine, October 1912, 131.6. B. H. Smith, “Nervy Movie Lady,” Sunset, June 1914, 1323; “The Real LifePerils of Pauline,” Literary Digest, December 5, 1914, 1148.

7. Louella Parsons, “Seen on the Screen,” Chicago Herald, October 15, 1915,Scrapbook 1, Louella O. Parsons (LOP) Collection, Margaret HerrickLibrary, Academy of Motion Pictures Arts and Sciences (AMPAS).

8. Ad for Pompeian skin cream, Motion Picture, November 1916; KathrynFuller, At The Picture Show (Washington: Smithsonian, 1996), 157-8; EileenWhitfield, Pickford: The Woman Who Made Hollywood (Lexington: Universi-ty of Kentucky Press, 1997), 132.

9. Lary May, Screening Out the Past (Chicago: University of Chicago Press,1983), 164.

10. Mlle. Pilar Morin, “The Value of Silent Drama, Or Pantomime in Acting,”Moving Picture World, November 3, 1909, 682; Roberta Pearson, EloquentGestures (Berkeley: University of California Press, 1992), 22.

11. “Blanche Sweet,”Weekly Movie Record,May 17, 1915, 1.12. “Public Opinions of Popular Plays and Players,”Motion Picture,March 1915,

122; “Letters to the Editor,” April 1915, Motion Picture,168.13. “Blanche Sweet”; “Popular Player Contest,” Motion Picture Story Magazine,

July 1913, 117.14. Herbert Howe, “They Can’t Fool the Public,” Photoplay, June 1922, 47.15. Orison Swett Marden, Pushing to the Front (New York: Thomas Crowell,

1894), 76; Warren Susman, “Personality and the Making of TwentiethCentury Culture,” in Culture as History (New York: Pantheon, 1984), 271-85.

16. “The Secret of Making People Like You,” Film Fun, December 1919. Forother perspectives on the modern self-as-performance (in particular, aperformance aimed at pleasing others) see Erving Goffman, The Presentationof Self in Everyday Life (New York: Anchor, 1959).

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17. Advertisement for the Gentlewoman Institute; advertisement for RalstonUniversity correspondence course in personality, both in Motion Picture,1921.

18. French Strother, “Cut Loose and Give Your Personality a Chance,” AmericanMagazine, February 1928, 43.

19. Imogene Wolcott, Personality as a Business Asset (New York: G. P. Putnam,1925), 243.

20. “Picture Personalities,” Moving Picture World, September 23, 1910, 680;December 24, 1910, 1462.

21. “What Makes Them Stars?,” Photoplay, November 1923, 48; Joan Cross,“Name Her and Win $1,000,” Movie Weekly, May 28, 1925, 5. The marriageof personality and acting was not only limited to motion pictures. In the firstquarter of the century, the stage was also swept by a craze for personality.Traditionally told to disguise their own qualities by immersing themselvesin their roles, actors were now urged to infuse their personal charisma intoeach of the characters they played. By 1910, the trend had become sowidespread that one critic lamented, “It is the personalities we go to see, notthe actors and sometimes not the play.” Actress Ethel Barrymore, inparticular, deplored the direction the theater had taken. Personality wasuseful, she explained in 1911, but could never substitute for experience andability. “Many people on the stage have a great deal of personality but littletalent, and they do not go far,” she claimed.

Barrymore worked tirelessly to restore talent and training to the artof acting. But even she had to admit that audiences preferred personality toability. In 1917, Film Fun wrote a scathing review of Barrymore’s firstappearance in motion pictures. Why was her performance so dull andunimpressive? “Ethel Barrymore completely lacks screen personality,” themagazine explained. See Ethel Barrymore, “How Can I Be A Great Actress,”Ladies’ Home Journal, March 15, 1911, 6; Benjamin McArthur, Actors andAmerican Culture, 1880–1920 (Philadelphia: Temple University Press,1984), ch. 7; Film Fun, April 1917, 32.

22. Helen Hancock, “Is Impersonation a Lost Art in America?,” FilmplayJournal, August 1922, 36; Esther Lindner, “How to Be Your Own PublicityManager,” Motion Picture, April 1918, 129.

23. “Brickbats and Bouquets,” Photoplay, June 1923, 10; “What the FansThink,” Picture Play, September 1922, 8; January 1924, 11; January 1926,10.

24. To Billie Dove, Billie Dove Collection, AMPAS; “What The Fans Think,”Picture Play, April 1922, 104; “Brickbats and Bouquets,” Photoplay, April1927, 128; to William S. Hart, 1917, William S. Hart Collection, NaturalHistory Museum of Los Angeles County.

25. Betty Rosser, “To Mary Pickford, the Recollections of her Number One Fan,”Mary Pickford Collection, AMPAS; Herbert Blumer, Movies and Conduct(New York: Macmillan, 1933), 40; “Brickbats and Bouquets,” Photoplay,May 1928, 10; Charles Dolista, “Terrible Consequences,” Movie Weekly,December 10, 1921, 27.

196 ★ M O V I E C R A Z Y

26. Motion Picture, June 1923, 56; “Brickbats and Bouquets,” Photoplay, July1926, 10; May 1927, 123; Betty Rosser, “To Mary Pickford, the Recollectionsof her Number One Fan.”

27. “The Best Known Girl in America,” Ladies’ Home Journal, January 1915, 9;New York Review, November 28, 1914, quoted in Whitfield, Pickford, 126;Nicholas Vachel Lindsay, “To Mary Pickford,” Photoplay, December 1914,102.

28. Between 1890 and 1930, the proportion of women in the workforce rosefrom 19 to 25 percent. See May, Screening Out, 201.

29. May, Screening Out, 119, 142. In 1920, Pickford earned the remarkableincome of one million dollars a year.

30. Motion Picture, January 1923, 56; Cari Beauchamp, Without Lying Down:Frances Marion and the Powerful Women of Early Hollywood (New York:Scribner’s, 1997), 53.

31. “Lillian Russell’s Beauty Secrets,” Chicago Tribune, September 3, 1914;Essanay News, June 15, 1914.

32. “Mary Pickford’s Daily Talks,” San Francisco Bulletin, January 16, 1916, 14;December 21, 1915, 8.

33. “Daily Talks,” San Francisco Bulletin, December 13, 1915, 14; May, Screen-ing Out, 125-6.

34. “Daily Talks,” San Francisco Bulletin,March 7, 1916, 15.35. “Daily Talks,” San Francisco Bulletin, December 2, 1915, 14. Pickford was so

popular, claimed American Magazine, that she received more mail each daythan President Wilson. Edwin Carty Ranck, “Mary Pickford—Whose RealName is Gladys Smith,” American Magazine, May 1918, 34-5.

36. Richard Schickel, His Picture in the Papers (New York: Charterhouse, 1973),ch. 1-4.

37. “What the Fans Think,” Picture Play, January 1924, 88; Douglas Fairbanks,Youth Points the Way (New York: D. Appleton, 1924), introduction.

38. Douglas Fairbanks, Laugh and Live (Britton Publishing Company, 1917), 47.39. Wallace Reid, “Get the Smiling Habit,” Photodrama, September 1921, 3; ad

for the Gentlewoman Institute, Motion Picture, May 1920, 109.40. May, Screening Out, 202.41. May, Screening Out, 201-2; Roland Marchand, Advertising the American

Dream (Berkeley: University of California Press, 1985), 6-7.42. On the origins of “psychological advertising” see Marchand, Advertising, 10-

13.43. Dorothy Spensley, “What Is It?,” Photoplay, February 1926, 33.44. Mark Larkin, “What Is ‘It’?,” Photoplay, June 1929; Alice M. Williamson,

Alice in Movieland (New York: D. Appleton, 1928), ch. 4.45. On changing sexual ethics in the 1920s see Nancy Cott, The Grounding of

Modern Feminism (New Haven: Yale University Press, 1987), ch. 5; Paula S.Fass, The Damned and the Beautiful (New York: Oxford, 1977), ch. 6.

46. “They Say,” Motion Picture Classic, March 1927, 6; Blumer, Movies andConduct, 36-7, 43.

47. James Quirk, “Close Ups and Long Shots,” Photoplay, November 1928, 1.48. Gene Brown, Movie Time (New York: Macmillan, 1995), 99.

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C H A P T E R T H R E E

1. Anna Steese Richardson, “Filmitis: The Modern Malady,”McClure’s, January1916, 12.

2. “Dress and the Picture,” Moving Picture World, July 9, 1910, 73; BartonCurrie, “Nickel Madness,” Harper’s Weekly, August 24, 1907, 1246; “NickelTheaters Crime Breeders,” Chicago Tribune, April 13, 1907, 3. In 1920, theNew York Times reported that 60 percent of film audiences were women; in1927, Moving Picture World claimed that 83 percent of viewers werefemale—see Richard Koszarski, An Evening’s Entertainment (Berkeley: Uni-versity of California Press, 1990), 30.

3. “Dress and the Picture,”Moving Picture World, July 9, 1910, 73; The FashionReview, April 27, 1912, 342; Gardner Wood, “Magazines and MotionPictures,” Moving Picture World, July 7, 1914, 194.

4. “What Motion Pictures Mean to Me,” Photoplay, June 1920, 78.5. “What It Means to Be Movie Struck,” Film Fun, February 1919, 26. Duringthe 1920s, a quarter of employed women worked in factories and nearly 40percent in clerical, managerial, sales, and professional positions. NancyCott, The Grounding of Modern Feminism (New Haven: Yale University Press,1987), 130.

6. “Mary Pickford’s Daily Talks,” San Francisco Bulletin, December 2, 1915, 14.7. Betty Melnick to Florence Lawrence, July 4, 1910; Rose Forte to Lawrence,1911, Florence Lawrence Collection (FL), Natural History Museum of LosAngeles County (NHMLAC); to Lawrence, October 8, 1914, Vertical File211, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences(AMPAS).

8. “Getting into a Picture Company,” Motion Picture Story Magazine, February1912, 147; “Owed to the Ambitious,” Photoplay, January 1917, 136.

9. Lux Graphicus, “On the Screen,” Moving Picture World, March 19, 1910,420; Patrick Donald Anderson, In Its Own Image: The Cinematic Vision ofHollywood (New York: Arno, 1978), 79-80.

10. “Should Moving Pictures Be Censored?,” Current Opinion, May 1921, 653.11. “Ethel Barrymore’s Advice to Stage Aspirants,” Cosmopolitan, December

1906, 661; “As An Actor Sees Women,” Ladies’ Home Journal, December1906, 26.

12. The fact that prostitutes often plied their trade in the notorious third tier ofmany theaters only strengthened the connection between the stage and sex.“What It Means to Be a Chorus Girl,” Ladies’ Home Journal,March 1910, 58.

13. Beatriz Michelena, “Friendly Talks With Screen-Struck Girls,” San FranciscoExaminer, May 7, 1916, 24; clipping, 1915, Scrapbook 1, Louella ParsonsCollection (LOP), AMPAS.

14. Richard Griffith, ed., The Talkies (New York: Dover, 1971), xvi.15. “Breaking Into the Game,” Photoplay, August 1914, 131; Elizabeth Peltret,

“The Girl Outside,” Photoplay, July 1917, 29-31.16. Moving Picture World,October 1913, quoted in Kathryn Fuller, At the Picture

Show (Washington, D.C.: Smithsonian, 1996), 126.

198 ★ M O V I E C R A Z Y

17. “How Twelve Famous Women Scenario Writers Succeeded,” Photoplay,August 1923, 31.

18. Terrence Eugene Ramsay, “Finding the Ten-Thousand-Dollar Girl,” Pho-toplay, April 1915; “The $250 Prize Awarded,” August 1914, 153; “AFortune for an Idea,” January 1917, 34.

19. Elaine Sterne, “Writing for the Movies as a Profession,” Photoplay, Septem-ber 1914, 156; Monte M. Katterjohn, “Thumbnail Biographies,” Photoplay,October 1914, 166; H. Z. Levine, “In the Moving Picture World,” Photoplay,March 1912, 37.

20. Lawrence Quirk, “Quirk of Photoplay,” Films in Review, March 1955, 97-107. From 1890 to 1930, the number of women in the workforce rose from19 to 25 percent. The greatest rise occurred among married women: theproportion of married women in the workforce doubled between 1900 and1930, increasing at six times the rate of unmarried women. Lary May,Screening Out the Past (Chicago: University of Chicago Press, 1983), 201;Cott, Modern Feminism, 129.

21. Vivian Barrington, “Laura Leonard, Heart Specialist,” Photoplay, October1914, 136.

22. Elizabeth Peltret, “On the Lot with Lois Weber,” Photoplay,November 1917,89; “The Million Dollar Girl,” Photoplay, October 1923, 63; “How TwelveFamous Women Scenario Writers Succeeded.”

23. Elizabeth Peltret, “Frances Marion, Soldieress of Fortune,” Photoplay, No-vember 1917, 31-3; Cari Beauchamp, Without Lying Down: Frances Marionand the Powerful Women of Early Hollywood (New York: Scribner’s, 1997).

24. Dorothy Spensley, “You Are So Pretty—You Should Go In Pictures,”Photoplay, April 1926, 28.

25. John H. Blackwood, “Author, Author!” Photoplay, February 1916, 27-9;Gordon Brooke, “Coming! The Million Dollar Scenarioist,” Picture Play, July1920, 56-7.

26. Irving Shulman, Harlow (New York: Dell, 1964), 72.27. “Gullible Girls Seeking Fame,” Literary Digest, February 1921.28. Marilyn Conners, What Chance Have I in Hollywood? (Hollywood: Famous

Authors, 1924), 11.29. “Report Girl Missing,” Moving Picture World, July 10, 1920, 192.30. “Studio Club Founded for Benefit of Girls in Picture Studios,” Hollywood

Citizen, December 29, 1916, 1; “$150,000 Studio Club Planned,” December19, 1922; Elizabeth McGaffey, “The Studio Club,” Photoplay, September1917, 83-8; Laurance L. Hill and Silas E. Snyder, Can Anything Good ComeOut of Hollywood? (Hollywood: Snyder Publications, 1923), 2-3.

31. Jessica Lawrence and Mrs. Cecil B. DeMille to Will Hays, May 18, 1923, inThe Will Hays Papers, ed. Douglas Gomery (Frederick, Md.: UniversityPublications of America), Reel 10; Ruth Waterbury, “The Truth aboutBreaking Into the Movies,” Photoplay, December 1926, 32-3.

32. Rudy Behlmer, Hollywood’s Hollywood (Secaucus, N.J.: Citadel Press, 1974),104; Hollywood Chamber of Commerce to Agnes O’Malley, May 28, 1927,Box 71, Folder 1150, Mack Sennett Collection, AMPAS.

33. Ruth Waterbury, “Don’t Go to Hollywood!” Photoplay, March 1927, 28.

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34. Walter DeLeon, “The Hollywood Extra,” Saturday Evening Post, June 1926;Ruth Waterbury, “The Truth About Breaking Into the Movies,” Photoplay,February 1927, 40; Cedric Belfrage interviewed in Hollywood: Single Bedsand Double Standards (London: Thames Television, 1980).

35. Kay Carewe, “Vignette of a Blonde,” Photoplay, December 1916, 86. In a1949 interview, Will Hays thanked Quirk for his efforts in dealing with theextra-girl crisis and star scandals of the 1920s: “He worked with me to cleanup the abuses in the film world. . . . He tried to protect Hollywood and raiseits sights.” See Lawrence Quirk, “James Quirk: An Appreciation.”

36. “Miss Talmadge Says,” Photoplay, June 1922, 78.37. Carolyn Van Wyck, “Poise, Clothes and Grooming,” Photoplay, November

1922, 52.38. Advertisement, Motion Picture, July 1918.39. Advertisement, Motion Picture, October 1925; Photoplay, June 1925.40. Fuller, Picture Show, 159.41. Fuller, Picture Show, 159-61.42. Metro-Goldwyn-Mayer publicity manual for Chained, Metro-Goldwyn-

Mayer Collection, University of Southern California; Charlotte CorneliaHerzog and Jane Marie Gaines, “Puffed Sleeves Before Tea Time,” inStardom, ed. Christine Gledhill (New York: Routledge, 1991), 78. A chain ofcompeting Cinema Fashion Shops, run by Bernard Waldman, also offeredinexpensive imitations of star fashions. Studios sent Waldman photographsof dresses that were to appear in upcoming films. The dresses were thenmass manufactured and would appear in the shops at the same time as thefilm’s release.

43. Herbert Blumer, Movies and Conduct (New York: Macmillan, 1933), 31-2;“Brickbats and Bouquets,” Photoplay, October 1931, 6. For a study of theway that female fans in the 1940s and 1950s selectively incorporated stars’styles into their own identities, see Jackie Stacey, Star Gazing: HollywoodCinema and Female Spectatorship (New York: Routledge, 1994).

C H A P T E R F O U R

1. “The Confessions of Edwin August,” Motion Picture Story Magazine, June1914, 83; “Greenroom Jottings,” February 1914, 113. Between 1911 and1915, the magazine was known as Motion Picture Story; in 1915 its title waschanged to Motion Picture.

2. To Florence Lawrence, dated August 31, 1912; from Quebec, 1916; EttaWard to Lawrence, 1916, Florence Lawrence Collection (FL), NaturalHistory Museum of Los Angeles County (NHMLAC).

3. Alexander Walker, Stardom (New York: Stein & Day, 1970), 111; RudolphValentino, “I’m Tired of Being a Sheik,” Collier’s, January 16, 1926.

4. Gladys Hall, “The Photoplayers,”Motion Picture Story Magazine, June 1914,113; Patricia Foulds, “Such is the Life of a Popular Movie Star,” Motion

200 ★ M O V I E C R A Z Y

Picture Classic, September 1917, 70; “Brickbats and Bouquets,” Photoplay,June 1927, 10.

5. E. K. McMullen, “Are You Movie Wise,” Photoplay, August 1925, 71; MartinLevin, ed., Hollywood and the Great Fan Magazines (New York: Arbor House,1970), 63; advertisement for Stars of the Photoplay, Photoplay, June 1931,151.

6. Advertisement for “The Barretts of Wimpole Street,” MGM Studio News,August 16, 1934; Christopher Finch and Linda Rosencrantz, Gone Holly-wood (New York: Doubleday, 1979), 274.

7. “Information Desk,” Modern Screen, September 1936, 66. As film criticRichard Schickel has observed, sound films revolutionized the relationshipbetween audiences and stars. “The psychological distance between stars andtheir audience was radically shortened with the coming of sound. Whatseemed to be their last significant secret, their tones of voice, was nowrevealed.” See Richard Schickel, Intimate Strangers: The Culture of Celebrity(New York: Doubleday, 1986), 99-100.

8. Anthony Slide, The Idols of Silence (South Brunswick, N.J.: A. S. Barnes,1976), 109-18; David Stenn, Clara Bow: Runnin’ Wild (New York: Double-day, 1988), 120-5; Adela Rogers St. Johns, The Honeycomb (New York:Doubleday, 1969), ch. 8; ad for Realsilk hosiery, Photoplay, March 1932.

9. Thomas Wood, “The First Lady of Hollywood,” Saturday Evening Post, July15, 1935, 9.

10. Louella Parsons, The Gay Illiterate (New York: Doubleday, 1944), 8.11. “Seen on the Screen,” Chicago Record Herald, October 15, 1915, Scrapbook

1, Louella O. Parsons Collection (LOP), Margaret Herrick Library, Academyof Motion Pictures Arts and Sciences (AMPAS).

12. “Flickerings from Films,” New York American, August 5, October 25, 1925,Scrapbook 12, LOP, AMPAS; Neal Gabler, Winchell: Gossip, Power, and theCulture of Celebrity (New York: Knopf, 1994).

13. George Eells, Hedda and Louella (New York: G. P. Putnam, 1972), 152-3.14. John Dunning, On the Air: The Encyclopedia of Old–Time Radio (New York:

Oxford University Press, 1998), 323-4.15. Review of Hollywood Hotel, Washington Post, n.d., Scrapbook 23, LOP,

AMPAS.16. Clipping from San Diego Radio News, n.d.; clipping from Radio Life, June 29,

1941; Los Angeles Examiner, May 29, 1941, Scrapbook 27, LOP, AMPAS.17. To Louella Parsons dated February 28, March 27, April 17, 1934, Hollywood

Hotel Files, LOP, Cinema Television Library, University of Southern Califor-nia (USC).

18. To Louella Parsons, n.d.; Virginia Hitchcock to Parsons, March 7, 1934;Hollywood Hotel Files, LOP, USC.

19. Letters, n.d., Hollywood Hotel Files, LOP, USC.20. “Bunk!” Photoplay, January 1921, 1; Frank Ward O’Malley, “Hot Off the

Press Agent,” Saturday Evening Post, June 25, 1921, 56; Mary Pickford, “TheGreatest Business in the World,” Collier’s, June 10, 1922, 7.

21. Walker, Stardom, 246. During Hollywood’s studio era, most actors relied onofficial studio publicists for their contact with the media. Those actors not

N O T E S ★ 201

contracted to studios or those who wanted additional publicity hiredindependent press agents. For the difference between publicists and pressagents, see Jane Wilkie, Confessions of an Ex–Fan Magazine Writer (NewYork: Doubleday, 1980), ch. 3.

22. “Tradeviews,” Hollywood Reporter, June 20, 1934; “Publicity Heads Unite inPlan to Curb Fan Magazines,” August 10, 1934; “Fan Magazines Promise tobe Good, Will CutWriters,” August 16, 1934; Carl Cotter, “The Forty Hacksof the Fan Mags,” Coast, February 1939; Murphy McHenry, “Dishing thatFan Mag Guff,” Variety, September 24, 1936, 51. In addition, writersemployed directly by studio publicity departments were assigned to plantarticles with newspapers and wire services, which often ran the piecesverbatim. “The planters are the unhappiest men in all Hollywood,” ex-plained Editor and Publisher in 1939. “They catch hell from everybody—from producers, stars, correspondents, and the Hays office. They’re blamedfor stories they didn’t plant, and when a spicy hunk of scandal begins to getaround, they must try to persuade their friends on the paper to kill thestory.” (“Press Agents Busy as Beavers in Fantastic Hollywood,” Editor andPublisher, September 23, 1939.)

23. Al DiOrio, Barbara Stanwyck (New York: Coward-McCann, 1983), 119;Warren Harris, Gable and Lombard (New York: Simon & Schuster, 1974),98-9; “A Heart to Heart Talk,” Photoplay, February 1939, in The Talkies, ed.Richard Griffith (New York: Dover, 1971), 132.

24. Eells, Hedda and Louella, 170.25. Wood, “First Lady of Hollywood,” 9.26. “Boos and Bouquets,” Photoplay, June 1938, 8.27. Letter, n.d.; letter, February 28, 1934;Hollywood Hotel Files, LOP, USC; “The

Audience Speaks Up,” Photoplay, June 1932, 12. According to ModernScreen, “A great deal of discussion has been aroused with the release ofMGM’s Bombshell. While everybody admits it’s grand entertainment, thereare those who think it unwise to debunk Hollywood. They claim that thereare people who still idolize movie stars, think Hollywood a glamorous placeto live, and to them the picture will be a disappointment.” Modern Screen,January 1934, 37.

28. “Brickbats and Bouquets,” Photoplay, March 1927, 115; “What the FansThink,” Picture Play, September 1926, 10; “Artificial Star Building,” MovieFan, December 1936, 5.

29. “What the Fans Think,” Picture Play, January 1924, 10; “Disillusionment?,”Movie Fan, July 1936, 4; “Activities of the EMO Movie Club,” August 1936,6.

30. Walker, Stardom, 202.31. “Brickbats and Bouquets,” Photoplay, July 1927, 16; letter from Tabor, Iowa,

March 4, 1934, Hollywood Hotel Files, LOP, USC; Faith Service, “What StarsWould You Like to Meet,”Modern Screen,December 1933, 58; “Between Youn’ Me,” Modern Screen,March 1934, 15, 123.

32. “Disillusionment?,” Movie Fan, 4.33. Marian Rhea, “Bette Davis in Person,” Screen Book, June 1936, 31.

202 ★ M O V I E C R A Z Y

34. “Your Fan Club,”Movieland,November 1948, 74; Patricia Schoonmaker, “AVisit with Gloria,” Deanna’s Diary, First Quarter 1942; “Between You n’ Me,”Modern Screen, July 1936, 68; Wilkie, Confessions, vii.

35. Rita Boyd, “Hollywood Premiere,” Esther Williams Fan Club Journal,Winter 1952.

36. Herbert L. Strock, “Your Autograph Please,”Modern Screen,December 1936;Margaret Thorp, America at the Movies (New Haven: Yale University Press,1939), 87-8. The Hollywood star tour dates back to the early 1920s. In 1921,Adela Rogers St. Johns told Photoplay readers about her experience on onesuch tour: the reporter and “fifteen curious sightseers” sat in a rickety buswhile the driver yelled to the passengers through a megaphone. “Anyminute you may see Mary Pickford standing on some corner, or BebeDaniels doing a Spanish dance on the sidewalk, or Katherine MacDonaldsmoking a cigarette,” he promised as the bus ambled up HollywoodBoulevard. Adela Rogers St. Johns, “Sight-seeing the Movies,” Photoplay,April 1921, 30.

37. “One Out of 12 Crashes Barriers Set Up Around Movie Stars,” WashingtonHerald, September 6, 1936, Fans Clipping File, AMPAS; Los Angeles Citizen,May 14, 1935, Jean Harlow Clipping File, AMPAS.

38. Deanna’s Diary, Spring 1943, 8; To Billie Dove, July 1, 1939, Billie DoveCollection, AMPAS.

39. “The Audience Talks Back,” Photoplay, December 1932, 6.

C H A P T E R F I V E

1. “The Fan Club Corner,” Photoplay, November 1934, 86.2. “To the Hills!” New York Times, April 6, 1947, Section 2, 5.3. Motion Picture Story Magazine,May 1912, 131.4. Motion Picture Story Magazine, October 1912, 131; Marjorie Powell Fohn,“A Fan Club Talk,” Picture Play, January 1922, 16; to William S. Hart,December 12, 1919, William S. Hart Collection, Box 10, Natural HistoryMuseum of Los Angeles County (NHMLAC).

5. Irving Shulman, Harlow (New York: Dell, 1964), 102.6. Lora Kelly, “How One Girl Built Up a Fan Club,” Picture Play, December1925, 72-5.

7. Fohn, “Fan Club Talk,” 16.8. Kelly, “How One Girl Built,” 72-5.9. “The Fan Club Corner,” Photoplay, October 1935, 115; February 1935, 121;August 1934, 120. One of the largest motion picture fan clubs of the 1930shonored not a movie star but a cartoon character. The Mickey Mouse FanClub had two million members in the United States in 1933, “and plans arealready on foot for a national convention, with delegates from all over theland,” reported Photoplay. “The Star of Stars,” Photoplay, June 1932, 46.

10. “Fan Clubs Costing American Public over $1,000,000 a Year,”Motion PictureHerald, November 12, 1936; Welty Earnest, president of the Buster Collier

N O T E S ★ 203

Fan Club, to Buster Collier, November 4, 1928, Buster Collier Collection,Academy of Motion Picture Arts and Sciences (AMPAS); Kelly, “How OneGirl Built,” 72-5.

11. To Jennifer Jones, n.d., Box 1354, Folder 7, David O. Selznick Collection(DOS), Harry Ransom Humanities Research Center, University of Texas,Austin (UT); Martin Levin, ed., Hollywood and the Great Fan Magazines(New York: Arbor House, 1970), 194, 198, 202.

12. Fan Mail Report, November and August 1945, Box 4557, Folder 10, DOS,UT.

13. “Dove Tales,” 1931, Billie Dove Collection, AMPAS; Esther Williams FanClub Journal, Summer 1952, Vertical File 224, AMPAS.

14. “Your Fan Club,” Movieland, November 1948, 74; October 1948, 80; “FanClub Corner,” Photoplay, October 1934, 120.

15. “What Fans Think,” Picture Play, August 1924, 119.16. To Florence Lawrence, October 1914, Florence Lawrence Collection, NHM-

LAC; “What Fans Think,” Picture Play, August 1928, 10.17. “Your Fan Club,” Movieland, November 1948, 74; “Boosters Band Wagon,”

Esther Williams Fan Club Journal, Winter 1951.18. Gone with the Wind letters from 1937, Box 3379, DOS, UT.19. J. Smith to H. Klein, January 27, 1947, Box 3943, Folder 27, DOS, UT.20. “Let’s Do Something to Help Screen’s Character Players,” Movie Fan (news-

letter of the EMO Movie Fan Club), September 1936.21. “An Open Letter to Metro-Goldwyn-Mayer,” Golden Comet,Winter 1938, 7.22. “My Fans Saved Me,” Movieland, August 1951; clipping from Hollywood

Citizen News, April 26, 1949, Fan Club File, AMPAS.23. “Your Fan Club,”Movieland, April 1948, 72; to Gloria Swanson, April 1951,

Box 67, Folder 1, Gloria Swanson Collection (GS), UT.24. Fan Mail Reports, October, November 1945, Box 4557, Folder 10; to Guy

Madison, 1947-1948, Box 3943, Folders 4, 27; DOS, UT.25. Edward Hall to Greta Garbo, n.d., Vertical File 51, AMPAS; to Gloria

Swanson, September 22, 1930, November 1, 1929, GS, UT.26. Catherine Andrews to Billie Dove, March 25, 1929, Billie Dove Collection,

AMPAS.27. Gloria Swanson to Georgina Murray, March 4, 1951, Box 68, Folder 2, GS,

UT.28. “Your Fan Club,” Movieland, January 1948, 90.29. Deanna’s Diary, Volume 5, Number 1, 1941, 3.30. “Jeanette’s Original and Official Invitation Backstage,” Golden Comet, Spring

1940; Deanna’s Diary, Spring 1943, 8.31. “Your Fan Club,” Movieland, November 1948, 74; note dated September 3,

1982, Box 70, Folder 5, GS, UT.32. Newsletter of the Esther Williams Club, Summer 1953, Vertical Files,

AMPAS.33. “Dear Friend,” Movie Fan, April 1936, 1.34. “Disillusionment?,” Movie Fan, July 1936, 4; “The Real Age of Shirley

Temple,” Movie Fan, October 1936, 1.35. Bob Thomas, Joan Crawford (New York: Bantam, 1978), 143.

204 ★ M O V I E C R A Z Y

36. Deanna’s Diary, June 1942, 2; to Gloria Swanson, December 3, 1952, Box 68,Folder 3, GS, UT; Esther Williams Fan Club Journal, Summer 1953.

37. “Your Fan Club,” Movieland, June 1948, 74; December 1948, 74; MargaretThorp, America at the Movies (New Haven: Yale University Press, 1939),100.

38. Hollywood Citizen News, April 26, 1949, Fans Clipping File, AMPAS.39. Bulletin of the Wallace Reid Memorial Club,May 1926;Motion Picture,March

1943, 13; Cameron Shipp, “You are My Favorite Movie Star,” Today’s Woman,October 1947, Fans Clipping File, AMPAS.

40. Joseph J. Barie to Greta Garbo, Feb 10, 1928, Vertical File 51, AMPAS; toGuy Madison, February 1, 1947, Box 4943, Folder 4, DOS, UT.

41. J. Smith to H. Klein, January 27, 1947, Guy Madison fan letters, Box 3943,Folder 27, DOS, UT; Thorp, America, 89.

42. Carolyn Whelchel, “Your Fan Club,” Movieland, August 1947, 18.43. “Meet One of Our English Members,” Golden Comet, Summer 1942, 18.44. “Comet Comments,” Golden Comet, Spring 1943.45. Georganne Scheiner, “The Deanna Durbin Devotees,” in Generations of

Youth, ed. Joe Austin and Michael Nevin Willard (New York: New YorkUniversity Press, 1998); “Movie Cook-coos,” New Movie Magazine, Decem-ber 1932, 95; Marian Squire, “Here’s What Happens at an Executive Sessionof a Joan Crawford Fan Club,” Variety, 1939, Joan Crawford File, AMPAS.

46. “Happenings of the New York Chapter,” Golden Comet, November/Decem-ber 1941.

47. Betty Rosser, “To Mary Pickford, the Recollections of her Number One Fan,”Mary Pickford Collection, AMPAS.

48. For a discussion of the importance of scrapbooks in movie fan culture, seeGeorganne Scheiner, “The Deanna Durbin Devotees.” Scheiner argues thatfan clubs, with their scrapbooks and detailed club journals, produced textsrather than merely consumed those (movies and fan magazines) issued fromHollywood.

49. Mary Dunphy to Jane Smoot, June 1947, Jeanette MacDonald collection,UT.

50. Ruth May Knell, “From Where I Sit,” Golden Comet, Spring 1962; RalphReppert, “Their Melody Lingers On,” Baltimore Sun, reprinted in GoldenComet, Spring 1969.

C H A P T E R S I X

1. Fan mail report, 1945, Box 3939, Folder 21, David O. Selznick Collection(DOS), Harry Ransom Humanities Research Center, University of Texas,Austin (UT).

2. “My Fans Saved Me,” Movieland, August 1951, 65.3. Alexander Walker, Stardom (New York: Stein & Day, 1970), 253.4. Leo Rosten, Hollywood (New York: Harcourt, Brace, 1941), 411. Sometimesfans made it as far as the film set before they were discovered. Greta Garbo,

N O T E S ★ 205

claims her biographer, had an uncanny ability to spot fans who had hiddenamong film extras in crowd scenes. “There are people here who do notbelong here,” she would announce to the director. John Bainbridge, Garbo(New York: Holt, Rinehart & Winston, 1955), 217.

5. Bob Thomas, Joan Crawford (New York: Bantam, 1978), 112; Irving Shul-man, Harlow (New York: Dell, 1964), 274-5. “No one is more appreciativethan I am of the interest of the fans and if [they] want me to talk to them,I’ll be glad to do so,” Harlow explained in an official statement to the press.Los Angeles Citizen, May 14, 1935, Jean Harlow File, Margaret HerrickLibrary, Academy of Motion Picture Arts and Sciences (AMPAS).

6. Helen Ogden, “Fan Letters the Stars Appreciate,” Picture Play, August 1925,90; “Between You n’ Me,” Modern Screen,November 1936, 12.

7. Walker, Stardom, 250; Clive Brook, Vertical File 44; Esther Ralston, VerticalFile 66, AMPAS; “What Happens to Fan Mail,” Photoplay, August 1928, 40,130.

8. Samuel Marx, Mayer and Thalberg: The Make Believe Saints (New York:Random House, 1975), 166.

9. To David O. Selznick, n.d., Box 221, Folder 9, DOS, UT.10. Fan mail report, September 1945, May 1946; C. Slaughter to Selznick, 1942;

to Selznick, 1937; all DOS, UT.11. Florence Keely to Selznick, January 23, 1948; to Selznick, October 19, 1937;

both DOS, UT.12. David Stenn, Clara Bow: Runnin’ Wild (New York: Doubleday, 1988), ch. 8;

Lady Killer, dir. Roy Del Ruth, Warner Brothers, 1933.13. Marx, Mayer and Thalberg, 92; Karen Swenson, Greta Garbo: A Life Apart

(New York: Scribner’s, 1997), 193.14. David O. Selznick to Daniel O’Shea, December 10, 1942, December 17,

1943, DOS, UT.15. “Wallace Beery,” MGM studio biography, Wallace Beery Files, AMPAS.16. Antoni Gronowicz,Garbo (New York: Simon& Schuster, 1990), 250, 257-8.17. Niven Busch, “Lana Turner,” Life, December 23, 1940, 64.18. Gary Carey, All the Stars in Heaven (New York: Dutton, 1981), 258; Jane

Ellen Wayne, Lana: The Life and Loves of Lana Turner (New York: St. Martin’sPress, 1995), 15; “Scrapbook on Lana Turner,” Photoplay, October 1944, 52.

19. Joan Crawford with Jane Kesner Ardmore, A Portrait of Joan (London:Frederick Muller, 1962), 13.

20. Joan Cross, “Name Her and Win $1000,” Movie Weekly, May 28, 1925, 5;“Joan Crawford is the Winning Name,” Movie Weekly, September 19, 1925.The prize for the winning name was 500 dollars; the ten runners-up won 50dollars each.

21. Crawford, Portrait of Joan, 67; Alexander Walker, Joan Crawford, TheUltimate Star (New York: Harper & Row, 1983), 22; Thomas, Joan Crawford,57.

22. Crawford, Portrait of Joan, 59.23. “Between You n’ Me,” Modern Screen, April 1934, 12.24. “Joan Crawford,” MGM studio biography, Joan Crawford File, AMPAS;

“What the Audience Thinks,” Photoplay, October 1932, 16.

206 ★ M O V I E C R A Z Y

25. Walker, Joan Crawford, 22; Thomas, Joan Crawford, 79, 143.26. Crawford, Portrait of Joan, 101; “What The Audience Thinks,” Photoplay,

October 1932, 16; Thomas, Joan Crawford, 86.27. Joe Morella and Edward Z. Epstein, Gable & Lombard & Powell & Harlow

(New York: Dell, 1975), 82.28. James Quirk, “Why Women Go Crazy About Clark Gable,” Photoplay,

November 1931, reprinted in Richard Griffith, ed., The Talkies, 44.29. Morella and Epstein, Gable & Lombard, 24.30. Marx, Mayer and Thalberg, 157; Mordaunt Hall, “The Screen,” New York

Times, February 28, 1931, 15.31. Quirk, “Why Women Go Crazy About Clark Gable”; Warren Harris, Gable

and Lombard (New York: Simon & Schuster, 1974), 35.32. “Clark Gable,” studio biography, Clark Gable File, AMPAS; publicity

manual for Chained,MGM Collection, Cinema Television Library, Universi-ty of Southern California (USC).

33. Lyn Tornabene, Long Live The King (New York: G. P. Putnam, 1976), 129,141; Walter Ramsay, “What Happened, Gable?,” Modern Screen, April 1934.

34. Tornabene, Long Live, 211, 214-5; Morella and Epstein, Gable & Lombard,55.

35. Harris, Gable and Lombard, 37.36. Audience Preview Cards from Parnell, MGM Collection, USC; “What the

Audience Thinks,” Photoplay, September 1937; Tornabene, Long Live, 213;“No Beard for Gable,” Movie Fan, December 1936, 5.

37. Beth Young to David Selznick, April 1937, Box 69, DOS, UT.38. Dorothy Carter to Selznick, January 9, 1939, DOS, UT; Rudy Behlmer,Memo

from David O. Selznick (New York: Viking, 1972), 167.39. “What the Audience Thinks,” Photoplay, October 1932, 16; Katherine

Albert, “Why They Said Joan Was ‘High Hat,’” Photoplay, August 1931, 112.

C H A P T E R S E V E N

1. Carolyn Whelchel, “Your Fan Club,” Movieland, January 1947, 80.2. “To the Hills!” New York Times, April 6, 1947, sec. 2, 5; Today’s Woman,October 1947, Fans Clipping File, Margaret Herrick Library, Academy ofMotion Picture Arts and Sciences (AMPAS).

3. Morton Hunt, “Our Drooling Movie Fans,”Woman, September 1950; “DearMr. Gable,” McCall’s, February 1949, Fans Clipping File, AMPAS.

4. To Gloria Swanson, n.d., Box 70, Gloria Swanson Collection (GS), HarryRansom Humanities Research Center, University of Texas, Austin (UT); toDavid O. Selznick, August 23, 1938, Box 3391, Folder 6, David O. SelznickCollection (DOS), UT.

5. Louis E. Bisch, “How the Screen Hypnotizes You,” Photoplay, February1928, 40; P. W. Wilson, “The Crime Wave and the Movies,” Current Opinion,March 1921, 320-1.

N O T E S ★ 207

6. “Psychology of the Movies,” Literary Digest, July 1917, 79; Hugo Munster-berg, The Photoplay: A Psychological Study (New York: D. Appleton, 1916),95.

7. Wilson, “The CrimeWave and the Movies,” 320; George Humphrey, “Do theMovies Help or Harm Us,” Collier’s, May 24, 1924, 5.

8. U.S. Congress, House, Committee on Education, Federal Motion PictureCommission: Briefs and Statements filed with the 64th Congress, 1st sess.,H.R. 56. Washington: GPO, 1916.

9. Joseph Levenson, “Censorship of the Movies,” Forum, April 1923, reprintedin James Rutland, ed., State Censorship of Motion Pictures (New York: H. W.Wilson, 1923), 83.

10. Annual Report of the Motion Picture Commission of New York State, in SelectedArticles on Censorship of the Theater and Moving Pictures, ed. Lamar T. Beman(New York: H. W. Wilson, 1931), 137; A. T. Poffenberger, “Motion Picturesand Crime,” in The Movies in Our Midst, ed. Gerald Mast (Chicago:University of Chicago Press, 1982), 204-5; New York Times, January 5 and7, 1921.

11. “Should Moving Pictures Be Censored?,” Current Opinion, May 1921, 653.12. A. T. Poffenberger, “Motion Pictures and Crime,” Scientific Monthly, April

1921, 336-9, in State Censorship of Motion Pictures, 59-60.13. Louis E. Bisch, “What Makes Us Movie Fans,” Photoplay, April 1928, 74.14. Humphrey, “Do the Movies Help or Harm Us,” 5.15. “Lays Death to Valentino’s,” New York Times, August 28, 1926, 6.16. Alexander Woolcott, “The Strenuous Honeymoon,” Everybody’s, November

1920, 36.17. “Thousands in Riot at Valentino Bier, More than 100 Hurt,” New York Times,

August 25, 1926, 1.18. Irving Shulman, Valentino (New York: Trident Press, 1967), 13.19. “Crowds Still Try To View Valentino,” New York Times, August 27, 1926, 3;

“Kipling and Valentino,” New York Times, August 28, 1926. Heywood Brounmay have been one of the only members of the press to defend thespectators: “I rather think that some of the reports have been too severe injudging the motives of the crowd. I saw the long lines at a distance in thedripping rain, and it is my belief that if it had been possible for a reporter tolook into the hearts of all there he would have found in many . . . a profoundemotion.” Heywood Broun, “It Seems to Me,” New York World, August 27,1926, 11.

20. “Valentino, the Martyr,” Moving Picture World, September 4, 1926, 19;“What the Fans Think,” Picture Play, January 1928, 10; May 1928, 10.

21. Margaret Thorp, America at the Movies (New Haven: Yale University Press,1939), 94; Carl Cotter, “The Forty Hacks of the Fan Mags,” Coast, February1939, Fans Clipping File, AMPAS.

22. Thorp, America, 98; Murphy McHenry, “Dishing that Fan Mag Guff,”Variety, September 24, 1936, 51.

23. “One Out of 12 Crashes Barriers Set Up Around Movie Stars,” WashingtonHerald, September 6, 1936, Fans Clipping File, AMPAS; Fredda Dudley,

208 ★ M O V I E C R A Z Y

“Usually They Want Something,” Ladies’ Home Journal, January 1941, 79;Ruth Suckow, “Hollywood Gods and Goddesses,” Harper’s, July 1936, 189.

24. Dudley, “Want Something,” 79; Thorp, America, 94.25. Bosley Crowther, “Those Amazing Movie Fans,” New York Times Magazine,

April 24, 1942, 15.26. Louis E. Bisch, “Are We Morons?,” Photoplay,March 1928, 50; “Disillusion-

ment?,” Movie Fan, July 1936, 4.27. “Activities of the EMO Movie Club,” Movie Fan, August 1936; “The Fan

Club Corner,” Photoplay, August 1935, 105; “Your Fan Club,” Movieland,June 1948, 74.

28. Richard Griffith, ed., The Talkies (New York: Dover, 1971), 9.29. “What the Audience Thinks,” Photoplay, August 1933, 10.30. “The Opinion of Movie-goers,” Photoplay, January 1934, 8; “What the

Public Thinks,” Photoplay, September 1933, 15.31. Hanz Benz to Gloria Swanson, n.d., Box 66, Folder 6; anonymous fan letter,

Box 70, Folder 1, GS, UT; to David O. Selznick, August 23, 1938, Box 3391,Folder 6, DOS, UT.

32. Louella Parsons, “They’re Human, Too,” Photoplay, August 1946, 33;clipping, July 17, 1944, Scrapbook 7, Jeanette MacDonald Collection, UT;“The Voice and the Kids,” New Republic, November 6, 1944, 593.

33. Arnold Shaw, Sinatra: Twentieth–Century Romantic (New York: Holt, Rine-hart & Winston, 1968), 47; “Sinatra Fans Pose Two Police Problems andNot the Less Serious Involves Truancy,” New York Times, October 13, 1944,20.

34. “The Voice and the Kids,” 592; E. J. Kahn, “The Slaves of Sinatra,” NewYorker, November 1946.

35. Parsons, “They’re Human, Too,” 33; Dore Schary, “Does Hollywood ThinkFans Are Pests,”Movieland, April 1947, 48. Variety suggested that attacks onstars by bobbysoxers may have once been used as a method of studiopublicity: “The mobbing of stars by frenzied fans and bobby soxers seekingautographs used to be a convenient means of getting free publicity. But itwas overpromoted and now has become the press agents’ biggest headache.Mobs of bobby soxers, acting to perfection the part of lunatics, have tornactresses’ expensive gowns and knocked down and half stripped screenheroes.” Joseph Wechsberg, “Press Agents Star in Making Stars Glitter,”Variety, June 8, 1947.

36. “To the Hills!”New York Times, April 6, 1947; “Bobby Soxers Dynasty Targetof ‘Frankly 40’s’,” Los Angeles Times, March 10, 1946, 2.

37. “Speak For Yourself,” Photoplay, October 1944, 118; January 1945, 16.38. Alan F. Berge, “Fans, Friends, or Foes?,” Taylor Topics, Spring 1982.39. Morton Hunt, “Our Drooling Movie Fans,” Woman, September 1950; John

Maynard, “Dear Mr. Gable,” McCall’s, February 1949, 7.40. Christopher Finch and Linda Rosencrantz, Gone Hollywood (New York:

Doubleday, 1979), 364.41. Leo Handel, Hollywood Looks at Its Audience (Chicago: University of Illinois

Press, 1950), 95; ad in Variety, November 8, 1944; George Eells, Hedda andLouella (New York: G. P. Putnam, 1972), 12.

N O T E S ★ 209

42. Leo Rosten, Hollywood: The Movie Colony, the Movie Makers (New York:Harcourt, Brace, 1941), 355; Robert S. Lynd and Helen Merrell Lynd,Middletown in Transition (New York: Harcourt, Brace, 1937), 169; Adlerquoted in Rosten, Hollywood, 368.

43. Hadley Cantril, The Invasion from Mars: A Study in the Psychology of Panic(New York: Harper & Row, 1966), 204.

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I N D E X

actingchange in styles, 39-41fans’ criticism of, 121-2, 155

actorsanonymity, desire for, 16, 23stage, 22-3see also names of individual actors

adolescents, as film fans, 178-81advertisements, 36, 38, 52, 55, 78-81advertising industry, 36, 53, 55, 78advice columns, 36, 49, 51, 63, 78Arbuckle, Roscoe “Fatty,” 28, 73audiences, response to early films, 10,12-14see also fans

authenticity, fans’ search for, 5-7, 16-33,86-90, 125

Bergman, Ingrid, 121, 126-7bobbysoxers, 178-81boosting (fan club activity), 116-23Bow, Clara, 54-5Brewster, Eugene, 24, 28

celebrities, film actors as, 35-7, 172see also names of individual actors

censorship of films, 163-4, 167-8childrenas film viewers, 166-8fans seen as, 167-9, 177-81

contests, 70-1, 146consumer culture, 29, 36, 52-7, 61-3, 77-83, 167

correspondenceactors to fans, 124-6, 138-9, 146fans to actors, 16-18, 30-2, 121-2,146-7, 177

fans to fan magazines, 24-5, 45-6, 87,101, 118-20

fans to studios, 118-20, 135, 136,140, 144, 146-56

see also fan mail; names of individualactors

Crawford, Joan, 45, 81, 144-51fans, 131, 137, 146-7, 149-50, 157

Durbin, Deanna, 124, 126, 131

EMO Movie Club, 103-4, 119, 125, 175

extra girl, see movie-struck girl

Fairbanks, Douglas, 51-2, 56, 104fan clubs, 86, 109-34, 186-8activities, 111-4, 115, 117-33; see alsoboosting

conventions, 109, 159-60journals, 113, 125, 130-1relationship with actors 121-2, 123-9see also names of individual actors

fan letters, see correspondence; fan mailfan magazines, 24-9, 63-5, 68-80, 87-90,98-9, 173see also Photoplay; Motion Picture

Story Magazine; studios, relation-ship with fan magazines

fan mailhandling by studios, 137-42, 147role in casting decisions, 136, 140,144, 146-56

see also correspondencefansclubs, see fan clubs; names of individ-ual actors

criticism of, 2-3, 59, 157-84; see alsopsychologists

imitation of actors, 46, 55, 80-2, 176,182

letters, see correspondence; fan mailpersonal meetings with stars, 19, 20,30-1, 104-7, 124, 149, 154, 169-72

see also audiences; authenticity; Hol-lywood; publicity; studios; vio-lence

fashion, 62-3, 78-82film actors, see actors; celebrities; namesof individual actors

film fans, see fansfilm industry, see studiosfilm studios, see studiosFuller, Mary, 29, 38

Gable, Clark, 4, 150-6Garbo, Greta, 141, 143Glyn, Elinor, 53-5Gone with the Wind, 119, 140, 155-6gossip, see triviagossip columns, 38, 92, 100

218 ★ M O V I E C R A Z Y

see also Parsons, Louella

Harlow, Jean, 90, 100, 112, 137Hart, William S., 30, 32, 111Hays, Will, 28, 75-6, 98-9Hollywoodfans’ visits to, 60, 66, 73-7, 105-7negative publicity about, 73-4

Hollywood Hotel (radio program), 93-4Hopper, Hedda, 100, 182

Independent Moving Picture Company,18-19

It (personal trait), 54-5

Laemmle, Carl, 18, 19-22Lawrence, Florence, 16-21, 32, 65, 87,117-8

LeSueur, Lucille, see Joan Crawford

MacDonald, Jeanette, 106-7, 120, 124,130-3

Madison, Guy, 119, 121, 128Marion, Frances, 49, 72marriage, secrecy surrounding actors’,23-5, 28

Mayer, Louis B., 99-100, 143, 145Metro-Goldwyn-Mayer, 45, 99-100, 112,138, 141, 143-54

Motion Picture Story Magazine, 24-6, 28,87see also fan magazines

Motion Picture Magazine, 28see also Motion Picture Story Magazine

movie fans, see fansmovie studios, see studiosmovie-struck girl, 60-1, 66-83

nickelodeons, 37, 62

Parsons, Louella, 70-1, 91-6, 98-100, 182personal appearances by actors, see fans,meetings with actors; publicity

personality, 36, 41-57Photoplay, 25-9, 63, 68-73, 78-80, 99,113see also fan magazines

Pickford, Mary, 39, 45, 46-52, 55-6, 104,132

press agents, see publicity agentspress releases, 89, 97, 143, 146-54psychological effects of film, 164-9psychologistscriticism of fans, 167-9

publicityagents, 97-8, 100, 145fans’ attitudes towards, 96-7, 101-9,117

stunts, 19-22, 98“war” between studios and colum-nists, 96-101

see also fans, personal meetings withstars; press releases; studios

Quirk, James, 69-71, 80

Rapf, Harry, 45, 145-6Reid, Wallace, 118, 127

scandals, 28, 73screen-writing, as a career for women,69-73

self-help books, 43-4, 51-2Selznick, David, 119, 135, 139-40, 155-6Sinatra, Frank, 178-81stage-struck girl, 67-8stars, see names of individual actorsstar system, beginnings of, 19-21

see also studiosstudio biography, see press releasesStudio Club, 75studio system, see studiosstudios, filmrelationshipwith actors, 136, 142-56;

see also names of individualactors

relationshipwith fans, 18-9, 60-2, 68,74-8, 80-2, 135-56

relationship with fan magazines, 96-9see also correspondence; fan mail;Metro-Goldwyn-Mayer

Swanson, Gloria, 121-2, 123, 124, 170

Talmadge, Norma, 78-9, 112Thalberg, Irving, 143, 151-2trivia, fans’ interest in, 85-91Turner, Lana, 143-4

Valentino, Rudolph, 1, 169-73violence, committed by fans, 15, 165-6,169-72, 178-89

Williams, Esther, 115, 118, 124-5womenrelationship to movies, 60-83seeking employment in film, 64-77participation in fan clubs, 130-1